"blue" gene tyranny

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blue gene tyranny

"Blue" Gene Tyranny

 

 

"[On 13 Detours] Tyranny's touch is light and delicate and the recording is absolutely superb, allowing notes and their gauzy inflections to hang in the air with pregnant physicality."
"[George Fox Searches is] [e]ssentially an improvisation on a delicate and full romantic fragment, Tyranny moves first into a lush arpeggiated dance with muscular, ringing fluidity, while the second thematic variation finds him building a network of pointillist jabs, disjointed like firecrackers against a keening base."
"With an architecture of chanting percussion and spectral synthesizer chords, [on "She Wore Red Shoes"] Tyranny splays out in flatted, circular motifs and reflective eddies, all with an underlying swing and lilt."
"Stretched out over 20 minutes, "George Fox Searches" retains a striking thematic core even as Tyranny works coiled jabs, knuckled statements, and brief passages of floating repetition into his palette, an array of colors that, were they not harmonically related to the short "theme," might seem far afield."
"Unseen Worlds could not have chosen a better point from which to continue their relationship with "Blue" Gene Tyranny's work, and Detours is a gorgeous offering of contemporary piano music."
Clifford Allen tinymixtapes July 10, 2012

"He does not stint on beautiful things - major arpeggios, soul-chord progressions, lines that flow and breathe - and his keyboard touch is rounded and gorgeous, a feeling you remember."
Ben Ratliff New York Times January 13, 2012

"[Out of the Blue] contains an ambitious and moving masterpiece. It is 'A Letter from Home'..."
Ben Ratliff New York Times March 25, 2007

"As a guiding light for those concerned about the future of music, his ideas are fascinating, and, for the open-minded listener, liberating."
Peter Burwasser Fanfare magazine

"With virtuosic technical ability, Tyranny counterbalances moods with ease and rapidity ... Tyranny has the soul of a beatnik poet, who without refuge in standard punctuation or the customary structural restraints of narrative expresses his innermost emotional concerns ... one of new music's most compelling practitioners."
Michael Kuelker St. Louis Post-Dispatch

Tyranny is plainly a very fine pianist and composer ... humorous, without being flippant or self-consciously urbane, and wonderfully evocative, Tyranny creates a head music which doesn't exclude the heart ... Tyranny assidiously avoids conventional ideas of structure and narrative ..."
Josef Woodard Jazziz magazine

"This guided, if unordinary, journey evoked a myriad of images ... Tyranny has the ability to make his listeners anticipate ... tension and excitement build in his music. The thing is, you don't always hear the notes you expect ... I looked around, watching Tyranny's entranced listeners ... I was transplanted into another culture, accompanied by no guide to explain the local customs or language."
Debra Bresnan The Woodstock Times

"The most original aspect of Tyranny's works is the way they create continuity: they're tonal, yet rigorously asymmetrical. They satisfy the ear without letting it take anything for granted. They evolve, not with the cyclic predictability of everyday life, but with the labyrinthine irreversibility of deep psychic forces. They say what they have to say perfectly. You sense the form in retrospect, but with no disturbing hint of any deliberate construction. a thunder of tremolos ... before returning to a surface as undisturbed as a forest pond ... I've raved about Tyranny before. God forbid that, in this society, we should call a Mozart a Mozart while he's still alive ... God plays the piano through this man. Science cannot explain the speed with which trillions of inspired brain impulses zip through his ... hands, resulting in note-perfect works ... the 1988 Kitchen improv-with-delay ... I called 'the most inspired piano performance I've ever heard.' It still is. At his schmaltziest ... he's like Keith Jarrett on an extremely good day. At his best, it's like listening to Ives improvise 'Hawthorne' from the Concord Sonata. "
Kyle Gann The Village Voice

"BGT is a piano animal. He plays the piano as if he is the instrument. His touch and timing are unique ... by turns sparkling, sultry and cautious. There is never a moment of weariness ... I think that this is the ultimate piano-record: the compositions are perfect for piano, and the piano is played perfectly by the composer. Buy it!"
Frans de Waard VITAL 15 magazine (Holland)

"There's something wonderfully, almost perversely singular about "Blue" Gene Tyranny. Here's a fellow capable of virtually anything pianistic, immersed in the avant-garde from a variety of angles, yet his music sounds as though he feels utterly uncompelled to acknowledge it, as if he'd be content to serve as a pianist in some distant cocktail bar where only one person out of a thousand would realize something special was afoot ... more than once I found myself making a comparison to images from David Lynch, things that can be seen (or heard) from two conceptual angles at once ... a territory no one's quite heard before."
Brian Olewick The Squid's Ear (Heard In)

"Basically I'm in awe of them (keyboardists) -- particularly 'Blue' Gene Tyranny, who's just a complete genius; he can really do anything. When you're doing a session with him, he has so many ideas that we just sit around all afternoon and he'll go 'well, on the other hand, you could do it like this', and he'll go off on a completely different tangent. The way he plays is so complex and majestic; it's like watching a huge ocean liner pull out."
Laurie Anderson interview Keyboard magazine

   

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